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Nirvana

From Billboard:

Director Brett Morgen’s long-gestating documentary on Kurt Cobain has found a home at HBO.

It is the first documentary to be made with the cooperation of Cobain’s family and will include never-before-seen home movies, recordings, artwork and photography, plus material from his personal archives, family archives and songbooks. The film features dozens of Nirvana songs and performances as well as previously unheard Cobain originals. Cobain committed suicide 20 years ago at the age of 27.

Cobain’s daughter with Courtney Love, Frances Bean Cobain, is an executive producer with Larry Mestel and David Byrnes.

Find yourself submerged into the voyage depths of hell, and deep into the mind of Kurt Cobain. The tape was made on a 4-track cassette recorder grabbing cuts from Cobain’s own record collection, the radio, band demos and sounds he made or recorded himself and uploaded by Vimeo user SpaceEcho (who claims Cobain gave the tape to him personally). Presenting the full version of Kurt Cobain’s “Montage Of Heck” mixed-tape from 1986.

Kurt Cobain’s “Montage Of Heck” from SpaceEcho on Vimeo.

Montage of Heck Track List:
“The Men In My Little Girl’s Life” by Mike Douglas
“The Sounds of Silence” by Simon & Garfunkel
“Being for the Benefit of Mr. Kite!” by The Beatles
“A Day In The Life” by The Beatles
“Eruption” by Van Halen
“Hot Pants” by James Brown
“Gypsies, Tramps and Thieves” by Cher
“Go Away Little Girl” by Donny Osmond
“Rocky Mountain High” by John Denver
“Everybody Loves Somebody” by Dean Martin
“The Candy Man” by Sammy Davis, Jr.
“In A Gadda Da Vida” by Iron Butterfly
“Wild Thing” by William Shatner
“Taxman” by The Beatles
“I Think I Love You” by The Partridge Family
“Are You a Boy or Are You a Girl?” by The Barbarians
“Queen Of The Reich” by Queensryche
“Last Caress/Green Hell” covered by Metallica
“Whole Lotta Love” by Led Zeppelin
“Get Down, Make Love” by Queen
“ABC” by The Jackson Five
“I Want Your Sex” by George Michael
“Run to the Hills” by Iron Maiden
“Eye Of The Chicken” by Butthole Surfers
“Dance of the Cobra” by Butthole Surfers
“The Shah Sleeps in Lee Harvey’s Grave” by Butthole Surfers
“New Age” by The Velvet Underground
“Love Buzz” by Shocking Blue
Orchestral music from 200 Motels by Frank Zappa
“Help I’m A Rock” / “It Can’t Happen Here” by Frank Zappa
“Call Any Vegetable” by Frank Zappa
“The Day We Fall In Love” by The Monkees
“Sweet Leaf” by Black Sabbath (intro)
Theme from The Andy Griffith Show
Mike Love (of The Beach Boys) talking about “Transcendental Meditation”
Excerpts of Jimi Hendrix speaking at the Monterey Pop Festival
Excerpts of Paul Stanley from KISS’ Alive!
Excerpts of Daniel Johnston screaming about Satan
Excerpts from sound effects records
Various children’s records (Curious George, Sesame Street, The Flintstones, Star Wars)

Legend has it Nirvana’s Kurt Cobain wanted to call this song Heart-Shaped Coffin, and the lyric of this rough demo features that very line. This demo is pretty close to what would be slightly cleaned-up for their In Utero album when he decided to call it “Heart-Shapped Box” instead.

Listen for the swapping “I wish I could catch your cancer” to “I wish I could eat your cancer when you turn black” for the official version. You’ll also notice Cobain humming along to the music – something more than a few artists do in the studio before committing to actual lyrics.

From Rolling Stone:

Record producer and Garbage member Butch Vig recently reminisced on his time producing Nirvana’s breakthrough record Nevermind during his recent keynote speech at the Yellow Phone Music Conference in Milwaukee. It was the first time he had ever spoken at a music conference, so he had a font of entertaining stories about Nirvana that he had not worn out previously. Vig found a roundabout way of crediting a space heater as the impetus for Nirvana to rehearse more and claimed that, because they were so well-prepared, he didn’t have to do much editing on the album – other than on the intro for “Smells Like Teen Spirit.”

“Some people don’t know this, but before they came in, they rehearsed every day for six months, like 10 hours a day,” Vig told the audience. “Kurt, contrary to the slacker attitude, wanted to have a hit record. He wanted to make a really good-sounding album. Part of the reason they rehearsed for 10 hours a day was they were living in a really floppy, shitty apartment up in the northwest, and the rehearsal space had a space heater. So they would go in there and it would be warm and they would go in there and play until 10, 11 o’clock at night and then they’d go back to their apartment. But they were tight.”

Nirvana’s MTV Unplugged was taped at Sony Music Studios in New York City on November 18, 1993, for the television series MTV Unplugged. The show was directed by Beth McCarthy and first aired on the cable television network MTV on December 16, 1993. As opposed to traditional practice on the television series, Nirvana played a setlist composed of mainly lesser-known material and cover versions of songs by The Vaselines, David Bowie, Meat Puppets (during which they were joined by two members of the group onstage), and Lead Belly.

From Grantland:

Next month, Tove Lo will open for Katy Perry on her tour of Australia. But she’s already setting herself apart from the headliner. “At a shoot yesterday, a stylist asked me, ‘What are you planning to wear on the Katy tour?’ I’m like, ‘Oh my God, fuck, I haven’t even thought about what I’m going to wear!’” she recently told Billboard. “I can’t wear what I usually wear [onstage] — I’m usually barefoot with, like, a T-shirt and jean shorts. I need to up my game.” It’s not exactly Soundgarden opening for Guns N’ Roses in 1991, but Tove Lo is consciously presenting herself as a de-glammed, every-woman alternative alongside an established behemoth.

This aesthetic — hyper-disciplined pop delivered with a “raw” and “honest” persona — might seem like a credibility grab or a capitulation to rockist biases. I prefer to think of it as counterprogramming, or perhaps the next changeover. Pop artists have always been magpies, lifting sounds and fashions from unlikely places and reinventing them. It’s a constant search for the new. And the new “new” might be something a little less perfect. If the spirit of grunge is going to make a comeback, it obviously can’t return in the familiar form of Sabbath-size riffs and Kevin Kerslake–directed music videos. It makes sense that it would reappear in the guise of women subverting the system from the inside, one hopelessly sad earworm at a time.

The Nirvana re-issue was also the twenty year anniversary of your now-famousBaffler article “The Problem With Music” Did the drive to write it stem from witnessing the post-Nevermind major label feeding frenzy which was consuming so many indie bands?

Absolutely. There was a feeding frenzy, where major labels were signing anything holding a guitar, and within the community of the underground there was quite a debate on how to deal with the situation. Some people thought the industry could be taken advantage of — swindled essentially — and that bands could use the resources of the industry for their own agenda. This was a rationale used by bands who wanted to maintain their self-respect while still having a rockstar experience. They were flattered that they had been given the opportunity, but it would be unseemly to embrace it, so they adopted a cynical angle for cover. I wanted to make the case that the labels operated exclusively in their own best interest, that their agents’ participation in the culture was purely driven by accumulating power, money and influence within the industry, and that everyone involved knew how to use the ambitions and vanity of the bands as leverage for their own ends. Most importantly, the industry didn’t care if occasionally a band had to be destroyed to keep the system in place, since bands are considered a bulk commodity. The industry is no longer what it was, so much of what I wrote is meaningless in specifics now, but at the time it was a trajectory I saw executed many times.

It used to be that the music industry was synonymous with the record industry, but now selling physical records is a very small part of the world’s use for music, and all those people who secured their positions within the record industry did so to little long-term effect. Most of them are real estate agents or doing PR for startups or selling macrame on Etsy or something. It’s only people who were honestly participating in the culture who are still at it.

Via Boing Boing

From CoS:

The Richest has published a list of the 10 wealthiest bassist in music, and while the names probably won’t surprise you, their placement might. Of course, the top spot is a given: Paul McCartney, perhaps the most famous bassist of all-time, is worth $1.2 billion, some $900 million more than the next richest. The Police’s Sting and KISS’ Gene Simmons are both worth an estimated $300 million and, thus, tied for second.

Despite having the highest-grossing tour of all-time, Roger Waters peaks at No. 4 with a net worth of $270. He’s followed by U2’s Adam Clayton and Red Hot Chili Peppers’ Flea. At No. 7, Led Zeppelin’s John Paul Jones is reportedly worth $80 million, which seems a little low given the band’s place in rock history and constant reissues. The same can also be said about Nirvana’s Krist Novoselic, who places behind No Doubt’s Tony Kanal.

Check out the full list below.

01. Paul McCartney – $1.2 billion
02. Sting – $300 million
02. Gene Simmons (KISS) – $300 million
04. Roger Waters – $270 million
05. Adam Clayton (U2) – $150 million
06. Flea – $115 million
07. John Paul Jones (Led Zeppelin) – $80 million
08. Geezer Butler (Black Sabbath) – $65 million
09. Tony Kanal (No Doubt) – $45 million
10. Krist Novoselic (Nirvana) – $40 million